A History of Equestrian Drama in the United States documents the history of equestrian drama in the United States and clarifies the multi-faceted significance of the form and of the related stage machinery developed to produce hippodramas. The development of equestrian drama is traced from its origins and influences in the sixteenth century, through the height of the form's popularity at the turn of the twentieth century. Analysis of the historical significance of the genre within the larger context of U.S. theatre, the elucidation of the importance of the horse to theatre, and an evaluation of the lasting impact on theatre technology are also included.

Exotic animals were coveted commodities in nineteenth-century Britain. Spectators flocked to zoos and menageries to see female lion tamers and hungry hippos. Helen Cowie examines zoos and travelling menageries in the period 1800-1880, using animal exhibitions to examine issues of class, gender, imperial culture and animal welfare.

Elephants, lions, tigers and leopards evoke fascination and awe, fear and excitement. This book analyzes trained acts in twentieth-century live circus and cinema, reveals how humans anthropomorphize animals with their emotions, and interrogates the notion that animals embody a phenomenology of emotions and feelings in culture.

Performing Animality provides theoretical and creative interventions into the presence of the animal and ideas of animality in performance. Animals have always played a part in human performance practices. Maintaining a crucial role in many communities' cultural traditions, animal-human encounters have been key in the development of performance. Similarly, performance including both living animals and/or representations of animals provides the context for encounters in which issues of power, human subjectivity and otherness are explored. Crucially, however, the inclusion of animals in performance also offers an opportunity to investigate ethical and moral assumptions about human and non-human animals. This book offers a historical and theoretical exploration of animal presence in performance by looking at the concept of animality and how it has developed in theatre and performance practices from the eighteenth century to today. Furthermore, it points to shifts in political, cultural, and ethical animal-human relations emerging within the context of animality and performance.

The Cambridge Companion to the Circus provides a complete guide for students, scholars, teachers, researchers, and practitioners who are seeking perspectives on the foundations and evolution of the modern circus, the contemporary extent of circus studies, and the specialised literature available to support further enquiries. The volume brings together an international group of established and emerging scholars working across the multi-disciplinary domain of circus studies to present a clear overview of the specialised histories, aesthetics and distinctive performances of the modern circus. In sixteen commissioned essays, it covers the origins in commercial equestrian performance during the late-eighteenth century to contemporary inflections of circus arts in major international festivals, educational environments, and social justice settings.

The Stage Lives of Animals examines what it might mean to make theatre beyond the human. In this stunning collection of essays, Una Chaudhuri engages with the alternative modes of thinking, feeling, and making art offered by animals and animality, bringing insights from theatre practice and theory to animal studies as well as exploring what animal studies can bring to the study of theatre and performance. As our planet lives through what scientists call "the sixth extinction," and we become ever more aware of our relationships to other species, Chaudhuri takes a highly original look at the "animal imagination" of well-known plays, performances and creative projects, including works by: Caryl Churchill Rachel Rosenthal Marina Zurkow Edward Albee Tennesee Williams Eugene Ionesco Covering over a decade of explorations, a wide range of writers, and many urgent topics, this volume demonstrates that an interspecies imagination deeply structures modern western drama.

When someone says "Cowgirl Up " it means rise to the occasion, don't give up, and do it all without whining or complaining. And the cowgirls of the early twentieth century did it all, just like the men, only wearing skirts and sometimes with a baby waiting behind the chutes. Women learned to rope and ride out of necessity, helping their fathers, brothers, and husbands with the ranch work. But for some women, it went further than that. They caught the fever of freedom, the thirst for adrenaline, and the thrill of competition, and many started their rodeo careers as early as age fourteen. From Alice and Margie Greenough of Red Lodge, whose father told them "If you can't ride 'em, walk," to Jane Burnett Smith of Gilt Edge who sneaked off to ride in rodeos at age eleven, women made wide inroads into the masculine world of rodeo. Montana boasts its share of women who "busted broncs" and broke ranks in the macho world of rodeo during the early to mid-1900s. "Cowgirl Up " is the history of these cowgirls, their courage, and their accomplishments.

[A] deservedly award-studded delight Strong Words Magazine 'A smart, scathing and bleakly funny cross of folk horror, satire and historical fiction' Toronto Star 'Reads like a modern fairy tale' New York Journal of Books 'Eerie and sensual' The Guardian 'So original, so beautifully done, and sinister and savage. I didn't want it to end' Chris Whitaker Franck and Lise, a French couple in the film industry, rent a cottage in the quiet hills of the French Lot to get away from the stresses of modern life. In this remote corner of the world, there is no phone signal. A mysterious dog emerges, looking for a new master. Ghosts of a dark past run wild in these hills, where a German lion tamer took refuge in the First World War ... Franck and Lise are confronted with nature at its most brutal. And they are about to discover that man and beast have more in common than they think. A literary sensation in France, Wild Dog is a dark, menacing tale of isolation, human nature and the infinite savagery of the wild.

The newspapers called him "Overshadowing Monarch Mastodon, " "Behemoth of Holy Writ" and "Prodigious Mountain." He was the main event at the greatest show on earth: Jumbo, at around 61/2 tons and almost 12 feet tall, the biggest elephant anyone had ever seen. Jumbos mere presence in the Barnum, Bailey and Hutchinson circus guaranteed an additional $3,000 a day in box office receipts. More of an exhibit than a performer, Jumbo was simply paraded around the three rings. But still the people came, just to marvel at the size of this monster pachyderm. This work traces Jumbos capture in East Africa, his life in the London Zoo, the controversy over his sale for $10,000 to American showman P.T. Barnum, his journey across the Atlantic, his life as the most famous attraction in Barnums circus, and his tragic death in a railway accident in Canada in 1885.

Ernest Hemingway, best-known to layman and aficionado alike, in his fiction described bullfighting, or "toreo, "as a cross between romantic risk and a drunken party, or as an elaborate substitute for war, ending in wounds or death. Although his descriptions of the "beauty"in "toreo "are lyrical, they are short on imaginative creation of how such beauty, through techniques and discipline, comes about. Hemingway may have sculpted a personal mystique of "toreo "but, in the opinion of some, he ignored or slighted the full, unique nature of the subject.

In "Bullfighting: Art, Technique, and Spanish Society "John McCormick sorts through the complexities of "toreo, "to suggest the aesthetic, social, and moral dimensions of an art that is geographically limited, but universal when seen in round. While having felt the attraction of Hemingway's approach, McCormick knew that he was being seduced by elements that had little to do with "toreo. "To try to right Hemingway's distortions, he named the first edition of this book "The Complete Aficionado, "but then realized that the volume was directed at more than just the spectator: "BullFighting "is written from the point of view of the "torerro, "as opposed to the usual spectator's impressions and enthusiasm. With the help of a retired "matador de toros, "Mario Sevilla Mascarenas, who taught McCormick the rudiments of "toreo "as well as the emotions and discipline essential to survival, the authors rescue "'toreo "from romantic cliches. They probe the anatomy of the matador's training and technique, provide a past-and-present survey of the traditions of the "corrida, "and furnish dramatic portraits of such famous figures as Manolete, Joselito, Belmonte, and Ordonez.

Here then is an informed analysis and critique of the origins and myths of "toreo "and a survey of the novels it has inspired. Defending the faith in a lively as well as clear and discerning manner, this volume provides a committed and vivid approach to the rich history, ritual, and symbolism of the bullfight as it currently exists.

The Stage Lives of Animals examines what it might mean to make theatre beyond the human. In this stunning collection of essays, Una Chaudhuri engages with the alternative modes of thinking, feeling, and making art offered by animals and animality, bringing insights from theatre practice and theory to animal studies as well as exploring what animal studies can bring to the study of theatre and performance. As our planet lives through what scientists call "the sixth extinction," and we become ever more aware of our relationships to other species, Chaudhuri takes a highly original look at the "animal imagination" of well-known plays, performances and creative projects, including works by: Caryl Churchill Rachel Rosenthal Marina Zurkow Edward Albee Tennesee Williams Eugene Ionesco Covering over a decade of explorations, a wide range of writers, and many urgent topics, this volume demonstrates that an interspecies imagination deeply structures modern western drama.

Featuring stunning full-color photographs by Gabriela Hasbun, THE NEW BLACK WEST celebrates the modern Black cowboys of the Bill Pickett Invitational Rodeo and the community that comes together to witness their achievements year after year. A powerful symbol of self-reliance, strength, and determination, the Black cowboy is a figure commonly overlooked in the histories of the American West. Held annually in cities across the United States, the Bill Pickett Invitational Rodeo (BPIR) honors the historic accomplishments of Black cowboys and fosters a vibrant community dedicated to continuing that legacy. Bay Area photographer Gabriela Hasbun has spent more than a decade photographing this beloved event in the Oakland hills. Her images capture the joy and excitement of performers and audience members, showcasing the daring feats, spectacular outfits, and welcoming atmosphere that make the Bill Pickett Invitational Rodeo an unmissable experience. In addition to Hasbun's photographs, THE NEW BLACK WEST features quotes and stories from the cowboys themselves, a foreword from the Oakland rodeo's regional manager, Jeff Douvel, and a short essay from BPIR owner Valeria Howard-Cunningham.

The Cambridge Companion to the Circus provides a complete guide for students, scholars, teachers, researchers, and practitioners who are seeking perspectives on the foundations and evolution of the modern circus, the contemporary extent of circus studies, and the specialised literature available to support further enquiries. The volume brings together an international group of established and emerging scholars working across the multi-disciplinary domain of circus studies to present a clear overview of the specialised histories, aesthetics and distinctive performances of the modern circus. In sixteen commissioned essays, it covers the origins in commercial equestrian performance during the late-eighteenth century to contemporary inflections of circus arts in major international festivals, educational environments, and social justice settings.

Hemingway's passion for Spain and for the bullfight is renowned. In Death in the Afternoon he shares the sights, the sounds, the excitement and, above all, the knowledge which fuelled his passion for the 'the emotional and spiritual intensity and pure classic beauty that can be produced by a man, an animal, and a piece of scarlet serge draped on a stick.' First published in 1932, Death in the Afternoon remains a classic for its historical account of the Corrida, for the stories of the great matadors, their banderilleros and picadors - the men who live every day with death - and for the stories of the bulls whose bravery is the primal root of the bullfight. Death in the Afternoon also contains some of the finest short stories Hemingway ever wrote, inspired by the intense life as well as the inevitable death of those hot, violent afternoons.

Dance researcher and movement analyst Adair Landborn introduces readers to the ongoing discussion in Spanish scholarship about the links between flamenco dance and bullfighting, and then moves deeper into the heart of these two quintessentially Spanish arts from the perspective of an anthropologist and from her own first-person experience as both dancer and student of bullfighting. Seeing flamenco dance and bullfighting as parallel arts within the same kinesthetic culture, Landborn describes their informal practice in private settings and their emergence as formal rituals in the public bullfight arena and on the flamenco stage. As Landborn discusses key bullfighting techniques and their sometimes direct, sometimes subtle influence on the flamenco dance style, readers are led to a greater appreciation of both arts and a deeper understanding of Spanish culture and worldview.

This book investigates the popularity and success of contemporary women performers in bullfighting culture, which has been framed by a discourse of 'traditionalist' masculinity. This examination of the changing situation of women in the bullfighting world is used to explore the ways in which gender is represented, enacted and negotiated in contemporary Spain.The bullfight in the 1990s is in an ambiguous position: it is a 'traditional' performance in a changing consumer society. In order to survive, it needs to adapt itself to a wider social context and, in particular, to international media coverage. It is in this context that the current success of women performers is located. However, women performers are a contested phenomenon in the bullfighting world: there is heated debate over their acceptability, much of which focuses on the body. Moreover, the entry of women into the bullfight questions existing definitions of the sport's ritual structure and of gender relations in Spain.Thoroughly researched and compelling to read, "Women and Bullfighting" addresses these issues and argues that existing traditionalist approaches to gender, bullfighting and ritual in Spain need to be revised in order to locate women bullfighters in the context of a richly varied culture which is increasingly affected by the media and contemporary patterns of consumption.This provocative book will be of interest to researchers and students of anthropology, gender studies, sociology, cultural studies, media studies and Spanish studies.

This book investigates the popularity and success of contemporary women performers in bullfighting culture, which has been framed by a discourse of 'traditionalist' masculinity. This examination of the changing situation of women in the bullfighting world is used to explore the ways in which gender is represented, enacted and negotiated in contemporary Spain.The bullfight in the 1990s is in an ambiguous position: it is a 'traditional' performance in a changing consumer society. In order to survive, it needs to adapt itself to a wider social context and, in particular, to international media coverage. It is in this context that the current success of women performers is located. However, women performers are a contested phenomenon in the bullfighting world: there is heated debate over their acceptability, much of which focuses on the body. Moreover, the entry of women into the bullfight questions existing definitions of the sport's ritual structure and of gender relations in Spain.Thoroughly researched and compelling to read, "Women and Bullfighting" addresses these issues and argues that existing traditionalist approaches to gender, bullfighting and ritual in Spain need to be revised in order to locate women bullfighters in the context of a richly varied culture which is increasingly affected by the media and contemporary patterns of consumption.This provocative book will be of interest to researchers and students of anthropology, gender studies, sociology, cultural studies, media studies and Spanish studies.

Hemingway's passion for Spain and for the bullfight is renowned. In Death in the Afternoon he shares the sights, the sounds, the excitement and, above all, the knowledge which fuelled his passion for the 'the emotional and spiritual intensity and pure classic beauty that can be produced by a man, an animal, and a piece of scarlet serge draped on a stick.' First published in 1932, Death in the Afternoon remains a classic for its historical account of the Corrida, for the stories of the great matadors, their banderilleros and picadors - the men who live every day with death - and for the stories of the bulls whose bravery is the primal root of the bullfight. Death in the Afternoon also contains some of the finest short stories Hemingway ever wrote, inspired by the intense life as well as the inevitable death of those hot, violent afternoons.

Deadly combat between gladiators is perhaps the best-known example of public entertainment offered in the Roman world. Wild and domesticated animals were also a part of these extravagant shows, and the elaborate presentation-or sometimes butchery-of creatures to gild an official's magnificence was among the most common forms of public diversion. Pitting bulls against bears, lions against Christians and criminals, elephants against rhinoceroses or parading large numbers of giraffe or zebras, the games devised by the Romans ranged from astonishing to brutally cruel. It is now difficult to comprehend the pleasure that huge crowds took from the death or struggle of animals and people, but the history of the role of animals in ancient Rome is both fascinating and important in view of modern sports spectacles and the enjoyment we take in animals in our daily lives. Based entirely on primary source material and infused with the author's direct experience with many of the animals discussed, Animals for Show and Pleasure in Ancient Rome is a comprehensive investigation of the rise, function, and pageantry of wild and domesticated animals as household pets and as fodder for entertainment in the Roman world. Extending from Egypt through the Greek city-states to the magnificent coliseums of the golden age of Roman civilization, Jennison provides an absorbing, evocative, and in-depth history that includes information about what animals were known to the Romans, which creatures they liked best, which animals were used as pets, from what places they obtained animals and how much they cost, how they were trapped, and the architectural development and dispersion of arenas throughout the Roman world. Originally published in 1937, Animals for Show and Pleasure in Ancient Rome remains the authoritative work on the subject.

Your pets can rival movie stars with these easy tricks from the trainer behind the Harry Potter movies, Julie Tottman. Whether your cat is clever, cheeky, kooky or cuddly, this perfect gift for cat lovers everywhere reveals easy tricks to make them the envy of their friends. Trick-training is a simple and fun way to bond with your cat whilst keeping him or her stimulated and active, and there is no one better placed to show you how to do it than Julie. Over the last twenty years, Julie has been the animal trainer behind a whole host of major Hollywood blockbusters - from the Harry Potter franchise to Lassie, The Dark Knight, 102 Dalmations and, most recently, Game of Thrones. By breaking each trick down into easy step-by-step instructions, Julie shows you how to teach your pet a wide range of easy and fun tricks, catering for all shapes, sizes - and attention spans! Alongside lots of helpful tips and advice, you'll also find fun black and white illustrations and space to jot down when your pet has successfully performed each trick, meaning they'll be rivalling movie stars in no time.

Rodeo is a dangerous and painful performance in which only the strongest and most skilled riders succeed. In the popular imagination, the western rodeo hero is often a stoic white man who embodies the toughness and independence of America's frontier past. However, marginalized people have starred in rodeos since the very beginning. Cast out of popular western mythology and pushed to the fringes in everyday life, these cowboys and cowgirls found belonging and meaning at the rodeo, staking a claim to national inclusion. Outriders explores the histories of rodeoers at the margins of society, from female bronc-riders in the 1910s and 1920s and convict cowboys in Texas in the mid-twentieth century to all-black rodeos in the 1960s and 1970s and gay rodeoers in the late twentieth century. These rodeo riders not only widened the definition of the real American cowboy but also, at times, reinforced the persistent and exclusionary myth of an idealized western identity. In this nuanced study, Rebecca Scofield shares how these outsider communities courted authenticity as they put their lives on the line to connect with an imagined American West.

Bullfighting has long been perceived as an antiquated, barbarous legacy from Spain's medieval past. In fact, many of that country's best poets, philosophers, and intellectuals have accepted the corrida as the embodiment of Spain's rejection of the modern world. In his brilliant new interpretation of bullfighting, Adrian Shubert maintains that this view is both the product of myth and a complete misunderstanding of the real roots of the contemporary bullfight. While references to a form of bullfighting date back to the Poem of the Cid (1040), the modern bullfight did not emerge until the early 18th century. And when it did emerge, it was far from being an archaic remnant of the past--it was a precursor of the 20th-century mass leisure industry. Indeed, before today's multimillion-dollar athletes with wide-spread commercial appeal, there was Francisco Romero, born in 1700, whose unique form of bullfighting netted him unprecedented fame and wealth, and Manuel Rodriguez Manolete, hailed as Spain's greatest matador by the New York Times after a fatal goring in 1947. The bullfight was replete with promoters, agents, journalists, and, of course, hugely-paid bullfighters who were exploited to promote wine, cigarettes, and other products. Shubert analyzes the business of the sport, and explores the bullfighters' world: their social and geographic origins, careers, and social status. Here also are surprising revelations about the sport, such as the presence of women bullfighters--and the larger gender issues that this provoked. From the political use of bullfighting in royal and imperial pageants to the nationalistic "great patriotic bullfights" of the late 19th and early 20th centuries, this is both a fascinating portrait of bullfighting and a vivid recreation of two centuries of Spanish history. Based on extensive research and engagingly written, Death and Money in the Afternoon vividly examines the evolution of Spanish culture and society through the prism of one of the West's first--and perhaps its most spectacular--spectator sports.